A few big ideas

Zenpolitics … sometimes I drift quite a distance from the ‘politics’ bit. But it’s always there, behind the scenes. And it’s all of Buddhism, not just Zen. And for that matter, other traditions, including Christianity and humanism. Wherever wisdom lies.

I try and avoid being too serious. But sometimes you can’t avoid it!

Three big ideas, and forgive the vast generalisations in what follows:

Compassion –  compassion, above all, being aware of the other person, the other party, the other side, and treating them as equals. This lies at the heart of Mahayana Buddhism, and ‘the ideal of the bodhisattva, someone who benefits not only himself but also others at one and the same time’.

Aspiration – to better oneself, and others, make the best of any situation, make the best of life. Aspiration is a very western concept. In Buddhism the closest I can find is viriya, which translates variously as ‘energy’, or ‘diligence’. How we balance aspiration and compassion in modern society (capitalist, global, interconnected, because that’s the way it is) is the political test of our times.

Capability – the ability, the wherewithal, for each and everyone of us (no exceptions), to aspire, to make time for what we each most value, to fulfil ourselves in our work and our lives. Making that happen for others is the ultimate act of compassion. Capability encompasses the ideas of freedom and equality – access, including access to justice, equal for everyone. My inspiration here is the Indian economist and Noble laureate, Amartya Sen. (‘Freedom to achieve well-being is to be understood in terms of people’s capabilities, that is their real opportunities to do and be what they have reason to value.’ Stanford Encyclopaedia of Philosophy.)

And, in addition ….

Community – working with others, caring for others, the practical expression of compassion, at a family, friend, local or national level.

Government – seeking the best, most effective, most accountable form of government, which I’ve argued before has to be not just democracy but parliamentary democracy, which it’s our good fortune to enjoy. If you think that’s overly specific, think of the alternatives, and how they’ve fared in the world. Encourage debate, avoid populism and straw polls.

And finally …

Freedom – referred to above, but specifically the freedoms of speech and expression, of assembly, movement, commerce. Freedom isn’t seamless (for example, hate speech, riotous assembly – to use an old term, mass migrations) but freedom has to be the ultimate context in which we reach decisions. (I’m arguing for freedom in a positive context, in which each of can achieve what we wish, and not in a negative context, whereby the only limitation to our freedom would be our ability to do harm to others.)

The middle way  – the balance between two positions, where the interests of everyone are best represented, the balance of ideas, not least the recognition that while we seek permanence impermanence is the reality, so all fixed positions are transient.

Insight – or wisdom, the nature of things, encompassing all of the above: the absence of self in any final reckoning, the illusions we have that we are masters of our fate, that we can be lords of the universe – lord it over the earth, or other people. We are of the earth, and our ultimate aim has to be to live in harmony with it.

One or two practical implications:

Always work with others when you can. When you achieve the extraordinary, for example, the European Union, and it’s failing, don’t walk away, face up to the problems, make it work.

Balance the private and the public. And if your choice, as for many it is, is to live a private life, don’t scorn government. Government is as good as we, as citizens, make it.

Value each person on earth the same: of course we love our family, friends, our country – we have pride in all of them, but others do too, in theirs, in their lives in faraway places.

The refugee, and how we treat him or her – that is the measure of our time.

No Martians on the Camino

I haven’t see the movie of The Martian. It came out while I was walking the Camino. But I’ve now read the book…

Mark Watney, left behind in a Martian sandstorm, drives his Mars rover 3200 km to get to the MAV – Mars Ascent Vehicle, which will be,  he hopes, his escape.

What I love is the guy’s cool. An engineer and a botanist he comes up with strategies for everything that hits him, sometimes literally, and has the technical nous to tear apart and rebuild and concoct out of nothing on seemingly endless occasions. He grumbles about the audio books – including Agatha Christie – that are all he has to read, and he survives on Mars-grown potatoes. But he stays on course, remains hyper-normal, and mindful. Staying on task is what it’s all about. After a short which ends his communication with NASA he’s in his own, works out his solutions – but guesses rightly that half  the world is watching him on their TV screens.

We sit here in our comfortable chairs reading, entirely passive save for a few firing synapses and he’s taking on the universe, or if not the universe a sandstorm or two, a decidedly oxygen-free world, a surfeit of CO2 (his own fault – he shouldn’t breathe) and a few more problems.

But … seen from another perspective he’s almost an automaton, there’s awareness of his predicament, and a dry (appropriate given where he is) sense of humour but little awareness of self – no emotion, fear, anxiety – no sense of wonder. He’s grateful to Phobos as a navigation system, but decidedly rude about Mars’s smaller moon, Deimos. Maybe after so much time out in space he’s simply inured to it all.

That said, as an inspired problem-solver, he is a wonder in himself. I’ll be interested to see what the movie and Matt Damon make of him.

I first walked on Mars in my imagination when the BBC conjured the planet Hesikos in a TV series, The Lost Planet, when I was all of … maybe 7 years old. It wasn’t Mars – but close.

Mars was a morning star last autumn, innocent in the pre-dawn.

And that takes me back to the Camino, where there was only the day’s walking to plan, the route was more or less pre-ordained. We were solitary, but we were aware of self, and others, and landscape and history, and the wonder of God’s creation.

Two different worlds.

 

Woodpile revisited …into the darkness

Out to the woodpile again. I’m reminded that the wood out there, though under cover, is damp with all the rain and wind and muck there’s been in the high Cotswolds recently. So bring it in, leave it in the garage for a few days, then by the fire for a day or two more. Then on to the fire and watch it burn. That at least is the theory and tonight it’s been more than theory. The room heated, and we did with it, to new levels.

A pub meal this evening. No street lights round here and heavy cloud cover and somehow the lights on the urban horizon which normally take the edge off the dark sky perfection I love weren’t there. So we had a dark dark sky. But no stars. Just the wind and the blackness and rain whipping in.

Darkness. There’s a marvellous exhibition at the Wellcome Collection, Tibet’s Secret Temple – Mind Body Spirit in Tantric Buddhism. Hold onto your seats. What follows may be unsettling.

The temple, the Lokhang, is on an island behind the Potala Palace in Lhasa, built by a Dalai Lama in the 17th century, as a refuge and to propitiate the ‘elemental serpentine forces that Tibetans call lu’.  Wall-paintings in its uppermost chamber illustrate the Dzogchen, or ‘Great Perfection’ teachings of the 8th century Tantric master, Padmasambhava, and they are the subject of and inspiration behind the exhibition.

And they set me thinking – and take me to the darkness.

The high mountain light in an often treeless terrain has sharpness and brilliance and a stillness I’d associate with transcendence, but the rapture we’d feel as Westerners in that landscape isn’t the rapture of a Tibetan Buddhist. It’s no more than a stepping-stone: to move beyond the dualism of light and dark we have to experience dark as well as light. The darkness of a temple. And the darkness of Tantric practices associated with death, making us aware of the transitoriness of existence. Skulls and thigh bones feature. The Tibetan Book of the Dead focuses on experience in the bardo state between death and reincarnation.

My instincts rebel against this, but there’s a strict method in this apparent madness. To move beyond dualism we have to experience and move beyond fear – we have to transcend all human existence, and that takes us down to the depths and up to the heights of experience – the high mountains may open a door, but they’re not sufficient in themselves.

I’m only here touching on ideas of light and dark, no more than scratching along the surface of Tantric Buddhism. It encompasses so much more – stillness and movement, the trul khor and the six yogas – including the Yoga of Radiant Light.

Having started this post in the darkness of a Cotswold night I’ll end here – in the transcendent light of the Himalaya.

You can’t ask for more than that.

Goya portraits 

Goya portraits – at the National Gallery. As usual, I get there (if at all) in the last week, and it’s a popular exhibition, and the NG foyer is crowded and the gallery even more so. Curiously, maybe not surprisingly, we’re an older crowd, the tourists are next door in the main gallery – we are I think a mainly British bunch. One downside of crowds – you can’t get close, so checking out on dots and daubs and brushstokes can be anti-social.

There’s performance art of a kind, certainly noise, emanating from Trafalagar Square outside the gallery, and neon shines in the evening light from the ’empty’ fourth plinth. Inside I’m struck by one of the captions in the little (almost image-less) guide the gallery provides for visitors. Goya’s painting of the Dowager Marchionness of Villafranca is ‘a moving demonstration of his ability to portray old age with respect and sympathy’. She was 61 when her portrait was painted. Not even 64. Zooks! Maybe that’s what I’m missing out on – respect and sympathy.

There’s a risk the younger generations are losing touch with the history of art – and of more than just art. Goya in a Self Portrait before an Easel has a hat adapted ‘to carry candles in order to add the final highlights to his pictures at night’. Maybe we need a few more details of this kind – life for Goya and in any studio was anything but staid.

Goya would be a good subject for a biopic, that would help – with his wonderful connections as painter to the court and king on the one hand, and on the other, his ability to survive infighting and faction, Napoleon’s invasion, the restoration of the monarchy, and a deadly anti-liberal reaction under Ferdinand VII, when he escaped to exile in France. And there’s his agonised personal response to Spain, to war and to the world revealed in his two series of etchings, the Caprichos and the Disasters of War.

He was called on to paint a triumphant (though he hardly looks that way) Wellington in 1812. As ever, he was in the right place. Beside the oil painting there’s a revealing preliminary sketch, with the general looking hollow-eyed and drained.

Goya’s ‘Family of the Infante Luis de Borbon’ is based on Velasquez’s Las Meninas, his group portrait of the Spanish royal family in the 1630s. There’s a powerful realism in the Goya portrait as there is in the Velasquez, and if you’ve seen Picasso’s paintings based on Las Meninas in Barcelona, that adds another dimension. There can be something obsessive about Spanish art. In their black mantillas the ladies, duchesses and countesses, live in their own world and even a radical such as the Countess-Duchess of Benavente is portrayed in a splendid hat, dress and powdered wig.

A few years late the Countess co-commissioned from Goya ‘six scenes of witchcraft, which satirised church corruption and the backwardness of Spanish society’. Even when the reformers lost power Goya kept his connections around court. Government ministers sat for him, including the minister of finance and one Gaspar Melchor de Jovellanos, who rejoiced in the title (a poor translation?) of Minister of Grace and Justice. How did grace come to be in his portfolio, I’d like to know. A better post for an archbishop.

Many ministers and courtiers were his friends and that didn’t change despite a serious illness that left him deaf for the last thirty years of his life. What the exhibition doesn’t and can’t address given its specific remit is the darker side of Goya’s imagination, the satires of the Caprichos, his rage against war in the Disasters, the bleak images of the Black Paintings. It’s the starkest of divides between the public and the personal. The former about status and friendship, the latter a harrowing personal journey.

If you were a friend (and not just those in high places) you were likely to get your portrait painted, and the portraits are full of character, and a few warts, and affection. They’re people you’d want to know. An architect, a master gilder, a printmaker, and a radical priest or two. In later years when Spain implodes and Goya turns inward there are few portraits of friends, though he did survive, just, as First Painter to the King.

‘People you’d want to know’ –  there’s a full-length portrait of the Marchioness de Santa Cruz reclining, dressed in the latest flimsy fashion, and with a lyre – a very modern muse for her time. I’d like to have met her. And nearby there’s Goya’s friend, the actress, Antonia Zarate. She’s dressed, with a fine lace mantilla, like an aristocrat, but closer inspection reveals a tiny downturn of lip and an ordinary humanity beneath the ritual glamour. In ordinary attire she’d have been fun, and a little wild  – I guess, I can only speculate!

Sometimes he painted himself into his portraits – as in the family portrait of the Infante family, and in the very grand portrait of the Duchess of Alba the duchess points to the ground and the words, ‘Solo Goya’, (Only Goya). She must have connived at this. ‘The idea that this proves that she and the artist were lovers has now been set aside,’ we’re told, rather primly.

Some of the names of his subjects are to conjure with: Cardinal Luis Maria de Borbon y Vallabriga (son of the Infante and ‘raised within the church’ – doesn’t sound as if he had much choice but to be a cardinal) and Don Valentin Bellvís de Mancada y Pizarro. I feel my parents shortchanged me – and indeed I did my own children. We could have added a bit in here and there.

And finally there’s a portrait of his friend Cean Bermudez, an art historian and print collector, who ‘shared a number of Rembrandt etchings with Goya when he was working on Los Caprichos’. A year ago I was in the same gallery, at the National  Gallery’s memorable, life-changing Rembrandt exhibition. Rembrandt painted old age like no other, but Goya has his own remarkable Self Portrait with Doctor Arrieta: he looks near death, and there’s an honesty about the two figures, Goya and the doctor, which is startling. A few years later, and near his actual death, he sketched in crayon a simple self-portrait, Aun aprendo (I am still learning). It’s shown in the little guidebook, not in the exhibition: hunched with a long white beard and two sticks he is ‘still learning’.

Now this guy really does deserve our ‘respect and sympathy’  – he died aged 82, in 1828.

Norwegian wood 

And when I awoke I was alone, this bird had flown/ So I lit a fire, isn’t it good, norwegian wood? (Norwegian Wood, The Beatles, Rubber Soul)

One surprise Christmas bestselling book in the UK has been ‘Norwegian Wood’, which has the great virtue of being exactly what it says on the tin, or the book cover, ‘chopping, stacking and drying wood the Scandinavian way’, and more particularly, the Norwegian way.

I knew I must have a copy. Why? In my partner Hazel’s Cotswold home there’s a woodburning stove, and a stack of wood outside, under cover, partly seasoned – that is, partly dried, and I have the regular and rather enjoyable task of bringing it inside and keeping the log basket by the lounge fire well-filled. Sometimes the wood – I believe it’s all local beech (though we have some old indeterminate wood recycled from the rebuilding of the house next door) – flames up and lights the room, and we damp it down, and the room warms quickly, other times it’s slow and we open the vents and still it’s reluctant to flame. It has a mind of its own. But then of course  – it doesn’t.

Read Lars Mytting’s book and all will be revealed. Wood as a highly practical activity, but also pastime, mindset, lifestyle, craft and (check out some of the woodpiles illustrated in the book) art form.

‘Every man looks at his wood-pile with a kind of affection.’ (Henry Thoreau, by Walden Pond, in the 1850s.)

I remember my step-mother’s father, in his 70s by the time I knew him, building his woodpile along a garden path facing south, several hundred feet above Lake Lucerne, where his family had lived for generations. The woodpile may also have been there for generations. I was 13 years old, and impressed. I watched a total lunar eclipse from the same path, the woodpile, maybe I should call it a woodpath, behind me, the lake below, the mountains reaching up beyond, and the moon a deepening shade of red above.

‘The ideal way to dry wood is to stack it as loosely as possible.’ 

Keep the surface exposed to wind and sunlight. ‘Logs dry best when the surface contact between them is minimal.’ And I love this quote:

‘In Norway, discussions about the vexed question of whether logs should be stacked with the bark facing up or down have marred many a christening and spoiled many a wedding when wood enthusiasts are among the guests.’

There’s the sun-wall woodpile, the firewood wall, the round stack, cord stacking, the closed square pile – just a few of the stacking options.  There’s a wonderful photo in the book of a stack in the shape of a fish.

‘Splitting the wood is the part of the job Arne enjoys most.’ (Arne Fjeld, quoted by Mytting.)

And there’s sawing and chopping and splitting, though all are pretty much denied me. I don’t have a chainsaw, or a trailer, and that’s what you need in the Norwegian birch woods. But I do have memories of hand- and felling-axes from my Boy Scout days. How did we get away then with wielding such dangerous items? I loved the big felling-axe, lifting it up and bringing it down from well above my head, sliding my hand down the shaft, the smooth and mighty downstroke.

‘I don’t think people in the old days had a particularly personal or romantic attitude toward wood.’ (Arne Fjeld again)

These days it’s different, in England as well as Norway. Wood is a source of comfort, where once it was simply a matter of life and death over the long winter months. Piling and chopping and feeding the flames are these days recreation as well as necessity.

‘Wood is best when dried quickly.’

Drying gets conversations going. Cut trees down in the winter or spring, before the sap rises (and fungus and mould can’t get established in the cold) and let the wood dry during the summer for next winter use. And keep the leaves on! Strip the bark in two or three places and let the logs breathe. All apparently arcane but in reality hard, practical and close-to-the earth advice. (But not too close to earth – stack your wood off the ground.)

But many argue that you should leave it two summers. I guess it has much to do with space and time (a touch of relativity here): if you’re well set up, as a Norwegian farmer would be, then one summer’s drying may be enough.

‘Wood is the simplest form of bioenergy there is.’

Each wood burns in its own way, but what matters in the end is the density. An oak log will generate 60% more heart than an alder log of the same size, but ‘pound for pound (they) produce the same amount of heat’. The hardest wood makes the best firewood, but quick-burning woods may well be better for chilly early or late winter days.  Mix them with a harder wood of beech or oak.  For kindling use pinewood or twigs from deciduous trees. And there’s coppicing: ‘birch can have a rotation period of fifteen to twenty years and more.’

You can calculate how many kilowatt-hours of energy a tree can produce, and put a financial value on it.

Birch is ‘queen of the Norwegian forest’, not least because it grows tall and straight, with obvious advantages for felling and stacking. Ash is tough and strong, and ‘regenerates from the stool, and therefore is ideally suited for coppicing’. It’s also, for many cultures, Yggdrasil, the tree of life, so the symbolism as well as the reality of the threat from ash dieback is powerful. Green pine is almost impossible to burn.

I remember as a Boy Scout going on many a ‘woodfag’, and building fires for cooking that sometimes flourished and sometimes struggled. And with them the evening stew, and the immediate welfare of the small patrol of four boys in my charge. I’d have done well to know more about the kinds of wood I was collecting. But I do remember – we didn’t starve. The main criterion then as now is – collect dry wood. If you can break it with your hands, or it breaks easily under the axe, that’s what matters.

‘… thick woollen socks hung up to dry dripped and hissed onto the woodstove.’

Back to Gersau on Lake Lucerne, and my Swiss step-grandparents’ house on the hillside. Everything was wood-fired and there was a fine traditional stove in the sitting-room. (The earth closet extended a long way down into the ground, and was regularly emptied into a neighbouring field. But that’s another story!)

Modern clean-burning stoves compared to old-fashioned stoves have an extra supply of heated air. There are different kinds of stove: closed iron, soapstone, kitchen, tiered, tiled …. each with its own story. In so many areas of life we have lost touch with story, or we have story without history. Wood in Mytting’s hands, beneath his axe, is all about story, all about history.

‘Even in oil-rich Norway an astonishing 25% of the energy used to heat private homes comes from wood.’

Here in the UK woodstoves will never be a way of life as they are in Scandinavia. We’ll never have stacks of wood decorating our landscape. But as one source within an energy mix of renewables, with renewables part of wider mix of oil, gas, coal, nuclear, with the former growing as the latter diminish, wood could have a big future. Time is on its side, as stoves become more efficient, and if we take on board all the wisdom in Mytting’s book renewable woods might be more part of our own landscape, and carefully planned they wouldn’t need to be the scars on the landscape that pine forests have been.

And finally, there’s a poem I wrote a poem (The Woodman) two years ago, inspired by the sound of someone chopping one early morning, and that’s how I’ll end:

Across the field the woodman drags/ The log he would reduce with axe/ Raised high above his head it falls/ A wrench of sound breaks the still/ Of morning and there’s a rhythm/ As each repeated stroke is given/ A little extra force or thrust 

For he who cuts alone would still be best/ Of all the woodmen, though no-one knows/ But he how so sharp blade so cold/ Could cut to such design/ Or how he to such contracted space/ Could aim his axe and lay to waste/ In single moments a century of time 

Relentless carping….

I’m arguing against myself here. I want more balanced news reporting, avoiding the cheap populist headlines that the tabloids indulge, and the reporting and biases that go with it. And the broadsheets don’t do much better.

But I try and make this blog pragmatic – connected to the everyday. Zen isn’t a place for dreamers. Is there any point shouting into the wind, when I know little will change? Unless… but the press barons won’t sell up and  if they did they’d likely sell to worse not better. And post-Leveson the issue of press freedom’s died a death, as the likes of Paul Dacre knew it would if they stalled long enough.

And anyway, the daily press is all about stories, and stories don’t have two ‘sides’, there’s no even-handed treatment of the cast. They need a villain or two, they need endings, they’re not puzzles, arguments, analyses requiring a measured resolution.

I’m not talking here so much about left or right, more about story, and balance, and necessary villains.

Taking examples from last Saturday’s Telegraph, we find stories about substantial pay rises for NHS chief executives in times of extreme financial stringency, threats to company pension schemes from proposed tax changes (removing higher level relief), and ‘anger’ over the just-announced annual increase in train fares – 1%.

How are they linked? By the absence of any objectivity, of another side to each story. That’s where my heading ‘relentless carping’ – always looking for the negative, for villains – comes in. And it does turn me off newspapers.

And what might be the ‘other side’ to each story?

NHS: look into each salary increase and there’s often an explanation for the rise, and there’s also the brutal fact that to attract the best people to run organisations you have to pay what the market dictates.

Train fare increases: the headline focused on the aggregate increase over the last five years, not the 1%, the lowest for five years, just announced. And someone, a pressure group or two, is angry.

Company pension schemes: the story reflects the views of a trade body, an interested party.  Counter-arguments? I could guess at another side – but I’ve not yet seen it reported.

My favourite press quote (CP Scott), ‘opinion is free, facts are sacred’, missed out a third category, ‘context’, or ‘frame’. The frame is integral to the story. Facts are framed, kept within a limited context, and the best stories unless it’s a football result or a big cricket score are usually negative. And we may (see above) amid the superabundance of future news reports never find the counter-arguments, if indeed they ever get a mention.

The alternative? The Economist sometimes manages pretty well. Under the heading ‘Northern  waterhouse’, a play on the government’s proposed ‘Northern powerhouse’ it looks at government and local authority responses to the recent floods, highlights cuts in investment at both levels, and gives a context to the anger so often expressed in recent weeks. But… the December just past has been the wettest month on record, and would the investment which was cut have made any difference to the flooding that’s actually happened? That’s not mentioned. So no more than 6 out of 10 for the Economist.

I don’t want to be putting in a good word for overpaid NHS executives, badly run train companies, damaging taxation changes to company pensions, or cancelled flood prevention when it’s not justified. But I want more if I’m to have the full picture.

But again, that qualification: should newspaper stories be other than stories? With villains. Without villains they wouldn’t get read.

The Economist has the advantage of being a weekly. Daily papers are another matter. So in the end it comes down to the old proverbial pinch of salt.

And keep a set of scales to hand, just as a reminder – there is another side.

New Year – Vienna comes to the Cotswolds

New Year’s Day, and I’m celebrating gently at this moment listening to Strauss waltzes, polkas and marches from the Musikverein in Vienna, always a wonderful way to start the year. Full of optimism, music with a spring in its step, an abundance of gold, not least the coffered and corniced and painted ceiling, everyone super-smart dressed, the secretary-general of the UN in the audience, ballet out at Schoenbrunn, and even the occasional touch of calculated lunacy in the orchestra.

Back when I was 10 years old my soon-to-be stepmother brought me back from Vienna an EP, which I still have, of the Vienna Boys’ Choir – children’s songs, including Trara die Post ist da, which I used to sing to my children. And there they are this morning, high above the orchestra, singing in that same crisp and mannered style, and looking terribly smart.

The whole occasion is a throwback to the high days of the Austro-Hungarian Empire, when emperor and court would attend such events. There’s a strange sadness interwoven with the exuberance, a sense of the old Vienna, in its heyday, one of the world’s great cities, full of self-belief, with no sense of a future which took out Hungary, the Alto Adige and more from the old empire and left only Austria, and a Vienna which had to suffer the Anschluss before reinventing itself post WW2. Edmund de Waal’s The Hare with Amber Eyes tells the tell through one family quite brilliantly.

Should we lament this world, its elites and arrogance and gilded Baroque grandeur? Of course not. But … if you get carried along by the waltzes and the dance and the ambience you can imagine it as some kind of a lost paradise. Imagine it. A little bit of Ruritania, a world of childhood and make-believe fashioned for adults.

We can’t escape ambivalence. All that pleasure, and a touch of guilt. Somehow adds to the enjoyment.

And what of this New Year? It starts as always with a bounce and optimism, probably all too quickly undone. There will be celebration, it’s an Olympic year, and triumph, the human spirit proving itself in adversity – and new crises, and the old crises – refugees at this moment waiting to cross from Turkey to Greece, and IS still working its evil.

Will the world solve old problems more than create new ones? Shift the balance of the scale a little?

I will live in hope.

Last night, half-past midnight, I looked out across the valley, from our New Year’s party, hardly a light amidst the fields and woods, but above a half-moon, last-quarter, climbing the eastern sky, and to the south Orion, and the air cold and turning frosty – the first frost of the over-mild December just expired, and the first of the new January.

Come the morning, three hours ago, pulling the curtain back, all was grey, the east now delivering a chill wind as I ran along the lanes and across the common, ahead of the promised rain….

But, damn it, there is an extra spring in my step, then, and now, a few hours later, after a village walk and Christmas cake and mince pies.

I had literally waltzed in my heavy walking boots down the hill, humming the Blue Danube, and adapting the Radetsky March. Hazel, my partner, didn’t know what to make of it, or me. I didn’t get beyond two disastrous dancing lessons in my teens, but I almost floated this time, in a clumping sort of way.

I will probably clump my way through 2016, but I will aim to do so exuberantly.

The Pope and the Emperor

This subject is a bit of a minefield, and I may tread on toes as well as mines…

The title of this post sounds like the old Investiture Contest revisited, with medieval Pope pitched against medieval Emperor. But before that, in 800AD, in Rome, the Pope crowned Charlemagne Emperor, and now  – a kind of role reversal – the city of Aachen, Charlemagne’s capital (all of 1200 years ago), has awarded this year’s Charlemagne Prize (given for contributions to European understanding) to the current occupant of the Holy See, Pope Francis.

One problem of course is that for many the papacy is a tainted source. Polly Toynbee (Guardian columnist in case you didn’t know!) for one: she took exception to the Pope’s comment that someone insulting his mother could expect a punch, in the context of freedom of speech and cartoons about the Prophet Mohammed, all in the wake of the Charlie Hebdo shootings. ‘Every religion has its dignity… In freedom of expression there are limits,’ had been the Pope’s response to a journalist asking him about the cartoons. ‘Punch’ may have been the best choice of word. But I wouldn’t expect the Pope to do other than argue for the dignity of his religion. Nor would I expect for a moment that dignity to be in any way enshrined in law, or even in convention. We need, on this as in so many things, to find a middle way between apparent opposites.

For good measure there’s this, going back 400 years, from Shakespeare’s King John (Toynbee keeps good company):

‘Thou canst not, Cardinal, devise a name/so slight, unworthy and ridiculous/To charge me to an answer, as the Pope.’

Vituperation against the Papacy would fill many volumes.

On the other hand… Pope Francis has been a powerful advocate for compassion at the heart of the Christian message, and has broken ranks with the old hierarchies in a remarkable way. There’s much I may not support or agree with, but I’m on his side.

I was reminded of his work in the slums of Buenos Aires, when archbishop there, while watching David Beckham’s TV documentary, For the Love of the Game, which follow Beckham round the world playing a football match on every continent. In Buenos Aires it’s a priest who works with disadvantaged youth who helps Beckham set up the match. There’s a remarkable and radical worker-priest tradition with the Catholic Church, especially in South America.

Back to the Charlemagne Prize. The citizens of Aachen would have had in mind the Pope’s address to the European Parliament just over a year ago, when he encouraged MEPs

‘…. to return to the firm conviction of the founders of the European Union, who envisioned a future based on the capacity to work together in bridging divisions and in fostering peace and fellowship between all the peoples of this continent. At the heart of this ambitious political project was confidence in man, not so much as a citizen or an economic agent, but in man, in men and women as persons endowed with transcendent dignity.’  (Source: The Economist.)

And also the Pope on the European refugee crisis: ‘Who has wept for the deaths of these brothers and sisters? The globalisation of indifference has taken from us the capacity to weep.’

The Economist reminded the Pope that creating strong job-creating economies has also to be a part of the European project. I’d agree – jobs and wealth creation at an individual and national level are an integral part of man’s dignity. We shouldn’t disparage man as an economic agent.

But the Pope’s vision, for man and for Europe, is one I’d share.

I’ve tried to tread lightly through this minefield, where politics, hierarchies, dogma, personal faith and experience, and much more, are all confounded – more maybe a battleground than a minefield, where everyone has an opinion, and some opinions are held with a partisan passion. And I’ve probably failed.

That old collection of LPs

We’re rediscovering vinyl, or as once it was, LPs.

My daughter now has a turntable, as a Christmas present, and I want one. Boxing Day evening we sat down and played music, vinyls she’s just been given of War on Drugs and Tame Impala (band names, for the uninitiated) – and then some real oldies from my collection which haven’t seen a turntable for 20 years.

Sergeant Pepper for one. I’d bought the LP on 1st June 1967, its release date, and retired to my room on Oriel Street to listen. I can still remember a mild perplexity listening to the first track, to the band striking up.

And now? A Day in the Life, A Little Help from my Friends… I’ve listened to the CD in recent years, but the tracks all sound way better on vinyl. Maybe it’s just watching the rotation, being mesmerised, watching the needle. Maybe the sound is actually better. There’s an immediacy about vinyl that there isn’t about a CD which we slide into our music system, and the sound surrounds us, there’s no locus, or an MP3 file which even more is pure sound, all virtual, nothing else. Do we need some kind of focus for our musical attention? At least give me something tangible – give me a record sleeve. Remember all those wild Roger Dean album covers from the 60s and 70s!

I mention vinyls to friends and there’s a refrain I hear – ‘I chucked them out 20 years ago.’ A minor gloat – I didn’t, and there’s a whole world of discovery, re-discovery, awaiting me. And maybe they’re actually worth a bob or two!

We tried a recording of Tub Jug Washboard Band music, one those happy musical byways I explored in my Oxford days. ‘Catch another mule sleeping in my stall/mama, going to tear it down.’ Love the image. Wonderful, crazy – and obscure.

And then the second James Taylor album, which I’d bought when it came out in 1970. Nothing obscure here. He’s as popular today as back in 1970. ‘Country Roads’ accompanied Martin Sheen as he walked the Camino, or at least the soundtrack did!

Joni Mitchell – ‘Michael from mountains/go where you will go to/know that I will know you/someday I will know you very well.’ All sorts of resonances from the past, shared with Rozi, who loves America, and loves song, and connects to Joni Mitchell as I do. Will thirty years on the next generation connect to another great songwriter, and Rozi’s hero, Sufjan Stevens? Let’s hope so.

Rozi has her turntable. And I will shortly have mine, and I’ll play my old collection, 200, maybe 300, one by one, and dig out the memories and the associations each has. Blues and folk music – so much that I used to sing, and have almost forgotten.

Almost, but not quite.

Tonight there’s an Open Mic evening at the local pub, the Black Horse, and I might just sing one or two of the blues hollers and the folk songs that I used to sing in clubs either side of 1970. I don’t need to hit high notes… the old bass resonances are still there, and that’s what matters, I can still deafen myself and others, given half a chance.

I will report back…..

No go. Pub too crowded, no space for a newcomer! But for next time I have a holler or two (Red Cross Store – a place to be avoided, charity in 1920s America, with strings), and a few folk songs  (Euan McColl’s version of To the Beggin’ I Will Go – if you didn’t want to work the looms, you could take to the road). You can get a great driving rhythm going on both.

Christmas morning

My daughter Rozi introduced me to a favourite song over our Christmas breakfast of smoked salmon, mushrooms and scrambled egg. ‘A cliche to be cynical at Christmas,’ the song’s called (yes, that’s right), by a band called …. Half Man Half Biscuit.

I ran down to the river at 8.30 this Christmas morning, and said a big Happy Christmas to every one I saw – five people in all, three of them ladies walking dogs – happy smiles and hellos. And two grumpy men.

But not a time to be cynical.

Not just at Christmas but every minute of every day of every year cynicism is an omelette…

That should have been ‘a complete’. Thank you spellcheck, that’s a beauty. Let’s try again.

Not just at Christmas but every minute of every day of every year an omelette is a complete waste of space.

Before we suspect another’s motives, question our own omelettes.

And that is quite enough of that.

I’d intended a serious point for this Christmas blog. But we all ended up laughing instead. 

One problem with writing blogs – you can be too b….. pompous.